ral work left behind by Palladio in this city are,
however, the great arcades with which he surrounded the Basilica, a
vast building of the middle ages already alluded to. These arcades are
two storeys high, and are rich, yet vigorous; they ornament the great
structure, the roof of which may be seen rising behind, without
overpowering it.

MILAN AND PAVIA.

In Milan two buildings at least belong to the early Renaissance. These
are the sacristy of Sta. Maria presso San Satiro, and the eastern
portion of the church of Sta. Maria delle Grazie; Bramante was the
architect of both. The last-named work is an addition to an existing
Gothic church; it is executed in the terra-cotta and brick of
Lombardy, materials which the Renaissance architects seemed to shun in
later times, and is full of the most profuse and elegant ornaments.
The design consists of a dome, treated externally a little like some
of the Lombard domes of earlier date; and three apses forming choir
and transepts. It is divided into several stages, and abundantly
varied in its panelling and arcading, and is full of vigour. By
Bramante is also the very beautiful arcaded quadrangle of the great
hospital at Milan, the Gothic front of which has been already noticed.
There are many Renaissance buildings of later date in Milan, but none
very remarkable.

[Illustration: FIG. 69.--THE CERTOSA NEAR PAVIA. PART OF THE WEST
FRONT. (BEGUN BY BORGOGNONE 1473.)]

To the early period belongs the design of the facade of the Certosa
near Pavia, part of which is shown (Fig. 69). This was begun as early
as 1473, by Ambrogio Borgognone, and was long in hand. It proceeded on
the lines settled thus early, and is probably the richest facade
belonging to any church in Christendom; it is executed entirely in
marble. Sculpture is employed to adorn every part that is near the
eye, and especially the portal, which is flanked by pilasters with
their faces panelled and occupied by splendid _alti relievi_. The
upper part is enriched by inlays of costly marbles, but the two
systems of decoration do not thoroughly harmonise; for the upper half
looks coarse, which it in reality is not, in contrast with the
delicate richness of the carving near the eye. The great features,
such as the entrance, the windows, and the angle pinnacles are
thoroughly good, and an arcade of small arches is twice
introduced,--once running completely across the front at about half
its height, and again nea